Theatre in Review

Displaying items by tag: Musical

This was my first time seeing any production of ‘Jersey Boys’ and I was so taken by the music and drama of the show I went to see it again closing night - and I'm so glad I did! 


I learned so much about Frankie Valli and The Four Seasons. Here’s an interesting tidbit - they originally called themselves The Four Lovers! I haven't heard their music on the radio in a long time and hearing their songs performed so well made me realize how many of their hits shaped my view of romantic love as a child. 


“Can’t Take My Eyes Off of You” as done by this tremendous cast was a soaring delight, and one of the reasons I saw the production twice with those spectacularly romantic lyrics of pure devotion. 


“You're just too good to be true

 I can't take my eyes off you

You'd be like heaven to touch

I wanna hold you so much

At long last love has arrived

And I thank God I'm alive

You're just too good to be true

Can't take my eyes off you”

 
“Big Girls Don’t Cry,” “Oh What a Night,” “Walk Like A Man,” “Sherry” and ”Working My Way Back To You" were so much fun to hear again, especially when learning some of the back stories on how they were written and for whom. 


I was sad but not surprised to hear that like most musical groups at that time and now, The Four Seasons were forced to tour so much and were taken advantage of financially in various ways. Pressures like such caused the band of friends to break up prematurely due to the seemingly endless strains of exhaustion, loneliness along with the emotional burdens they took on, from touring in particular, as compared to staying home with their families and recording in the studio.  


The opening night performance was still fantastic! I heard some vocal shakiness here and there and saw some nervous dance energy that made the cast appear stiff in parts when trying to hit their marks with such exactness. So, I attended the next performance and the entire cast blew me away and revealed two "Rising Stars" out of the very talented 15-member ensemble. I later found out that the cast having just flown in from NY were a little tired on opening night but by the time I saw the show again, the show had gelled so well it was almost like seeing a whole new show. Audiences seeing the show from here on out have a special treat coming to their towns! 


All four leads were wonderful with Jonny Wexler as Frankie Valli, Eric Chambliss as Bob Gaudio, Corey Greenan as Tommy DeVito and Jonathan Cable as Nick Massi. The four were in lock step, perfectly executing the demanding choreography needed to recreate the band’s exciting live presence.  


The ensemble members, Ashley Bruce, Tony L. Clements, Rick Desloge, Wade Dooley, Todd DuBail, Caitlin Leary, Kevin Patrick Martin, Jeremy Startin, Chloes Tiso, Kit Treece and Jessica Wockenfuss were all dynamite as well and with production cuts each had to lay several roles and sometimes even play instruments.


The female roles in this show are mostly "thankless" cameos which don't allow for a gal to show off, but every cast member more than pulled their weight. 


Jonny Wexler made the most astounding leap from opening night jitters and by Saturday his falsetto was flawless. The gravitas missing from his dramatic scenes was in play and when I closed my eyes during "Can't Take my Eyes Off of You" I literally felt transported back in time! I felt like I was hearing the glorious impossible tones of Frankie Valli performing in his prime. 


Jonathan Cable, who is from Indiana, actually had the most NY swagger of the entire cast from night one. Cable has an extensive musical theatre background and his smooth yet masculine dance moves, growling low singing tones and wry sense of humor made him a sexy stand out that will make ladies AND gents who see this production chuckle when they remember his interpretation of bass tenor Nick Massi. 


‘Jersey Boys’ is the well told journey of how four Jersey street kids rose from neighborhood trouble makers to one of the great musical acts of their time. It’s also the story of how a teenage kid named Bob Gaudio, who penned the cheeky hit “Short Shorts,” teamed up with Valli and company, matured as a song writer and wrote some of the most memorable songs of the era.  


The pace of the show is leisurely at first then develops nicely as the backstory of each band member comes together with their own unique talents. There is a nice intermission in this two-hour-plus show which makes it a perfect date night for Broadway theater lovers - well worth the price of admission. 


I highly recommend this production of ‘Jersey Boys’ to "Lovers" everywhere for the astoundingly talented cast, dramatic staging and really heart-satisfying renditions of classic love songs that will have you floating out of the theatre on a cloud exclaiming, "Oh, What a Night!" 


'Jersey Boys’ is here on a short run through April 7th at Auditorium Theatre.

Published in Theatre in Review

Nothing beats celebrating New Year’s Eve like being a on ship that capsizes just after the countdown. The 1972 film that features Gene Hackman, Shelly Winters, Red Buttons, and Ernest Borgnine is just that. When a cruise ship capsizes, surviving passengers are forced to travel upwards from floor to floor with the goal of reaching the ship’s bottom where they believe rescuers will be waiting or an escape through the propeller room might be had. The film, a classic disaster flick with several over the top performances, begs to become a victim of parody – and Hell in a Handbag is just the team to make this happen.


Originally staged by Hell in a Handbag in 2002, ‘Poseidon! An Upsidedown Musical’ was a tremendous hit and went on to run for a five-month sold out engagement. Accepted into The New York International Fringe Festival, no other show beat its attendance. When the show was remounted in 2009 at Chopin Theatre, it ran to great success once again and saw yet another extended run. The 2009 production of ‘Poseidon!’ was my very first Handbag experience and I’ve never looked back, enjoying nearly all the ensemble’s shows since. I was immediately hooked on Handbag’s knack for producing pinpoint camp and became a fan of the likes of David Cerda, Ed Jones, Elizabeth Lesinski and company from day one. 


So, great news Chicago! ‘Poseidon!’ is back, this time at the Edge Theatre in Edgewater. The show might be without Cerda and Jones in starring roles but puts forth an incredible funny cast with David Lipshutz leading the motley crew of survivors as Reverend Scott (played by Hackman in the film). Lipshutz is a comedic force, his deadpan delivery and exaggerated dramatic lines spot on. 


The cast is simply littered with talented actors who know how to draw laughs and ‘Poseidon!’ gives each ample opportunity to shine. Lesinski returns to Handbag and is hilarious as Linda, the impatient, self-centered wife of Rogo, a retired detective who often butts heads with the reverend and is played by Handbag newcomer Shane Roberie. Stevie Love takes on the role of Nonnie, the ditzy singer of the ship’s house band and is hysterically funny with just about every line delivered. The cast is tremendous and includes both Handbag veterans and new arrivals – Tommy Bullington takes on Belle (played by Shelly Winters in the film) and knocks it out of the park. Nicky Mendelsohn is sidesplittingly funny as ship employee, Acres (played by Roddy McDowell in the film) while cast members Katherine Bellantone, Michael S. Miller, Frankie Leo Bennet (C’mon sis! It’s a cinch!”), Scott Sawa and others strengthen an already strong cast.   

        
As an audience we are part of a group that watches The Poseidon Adventure regularly. The watching party is hosted by Caitlin Jackson who, along with her guests, comment on moments of the “film” and praises its heroes. Prior to the curtain being raised, Jackson and friends stroll around the theatre, drinks in hand, as they prepare to take their front row seats to watch the epic classic of a lifetime. 


The musical is filled with songs that are as catchy as they are funny like “Just Panties” and “(In the Water) I’m A Very Skinny Lady”. A live band is hidden away in the set that creatively flips upside down once the rogue wave strikes the helpless ship. 
Is it helpful to see the 1972 disaster film before the musical? For sure. Can you enjoy this musical if you’ve never even heard of the film? For sure.


Superbly directed by Derek Van Barham with book and lyrics by David Cerda of whom the latter also is credited for the music along with Scott Lamberty, “Poseidon! An Upside Musical’ is a super blast into comedic heaven. 
Catch the ship-capsizing wave of hilarity! Wholeheartedly recommended as one of the funniest productions you can possibly see.


‘Poseidon!’ is being performed at The Edge Theatre through April 28th. For tickets and/or more show information visit www.handbagproductions.org.

Published in Theatre in Review

Murder in the streets, neighborhoods divided along racial lines, racial and ethnic slurs, glorified mob activities, wise guys, street fights and more. THIS is A Bronx Tale (the musical) on its first national tour after a successful 700 show run on Broadway.


Originally a one person play written and performed by Chazz Palminteri, A Bronx Tale is a 1960s coming of age story of a young Italian-American boy who is lured away from his honest, hardworking, baseball loving blue-collar family by the temptations and glorification of the local mob.


Billed as “a tale about respect, loyalty, love, and above all else: family” it is hard to ignore that the backdrop for the entire story is violence, racism, and dishonesty played to an upbeat, “feel good” doo-wop soundtrack. 


If you’re a fan of West Side Story, Grease, Jersey Boys and other similar stories, you will find A Bronx Tale enjoyable even if it follows a predictable story line where Good wins over Evil in the end. 


Featuring music by Oscar, Grammy and Tony Award winner Alan Menken, and lyrics by Oscar and Tony Award nominee Glenn Slater, the score is light, cheery, and optimistic as it keeps the story and the action moving. 


The design team earned the highest praise from this reviewer for both its authenticity and its simplicity. The set morphed almost invisibly from outdoor to indoor, day to night, without distraction. The choreography and blocking which incorporated set/prop movement was subtle and less intrusive than crew members moving around in the darkness trying to go unnoticed.


The overall performance was pleasant and but possibly a little flat according my row mates. With four of the five leads having performed as part of the original Broadway run, I may have expected too much. From my perspective the vocals lacked depth and at times the orchestra drowned out the vocals.


On a side note: Does every portrayal of an Italian-American have to include a Danny Zuko accent?


A Bronx Tale is currently being performed at Broadway in Chicago’s James M. Nederlander Theater for a limited engagement through March 24, 2019.

Published in Theatre in Review

One could only picture what would have happened should four of the greatest rock and roll pioneers ever step foot in the same studio at the same time. And just imagine if the above referenced were Elvis Presley, Jerry Lee Lewis, Carl Perkins and Johnny Cash. Well, one winter afternoon in December of 1956, that’s exactly what occurred when these four music trendsetters met unexpectedly at Sun Records in Memphis, Tennessee. Though no one outside of Jerry Lee Lewis himself (only living participant) really knows all the details of what happened during that meeting, most are quite certain a jam session like no other took place, later earning the four the nickname “The Million Dollar Quartet”.

Currently playing at Theater at the Center in Munster, Indiana, ‘Million Dollar Quartet’ brilliantly takes its audience into Memphis’ Sun Records studio where it combines theatre with a truly entertaining rock and roll show. Filled with jaw-dropping singing and instrumental feats, ‘Million Dollar Quartet’ beautifully conveys the excitement of mid-1950’s rock music while at the same time providing audience members with a good feel for the time period itself. It is no wonder this show is already a timeless classic.

Finely directed by Daryl Brooks, ‘Million Dollar Quartet’ does not require elaborate set changes, taking place entirely in a recording studio (Sun) converted from an auto parts store. The show makes its mark as one of the hottest shows on stage thanks to its amazing musical performances, well-defined characters and a storyline that perfectly delivers the enthralling supposition of “What could have been?” The story also points to the importance of Sun Records and their impact on the music world, mainly owner Sam Phillips (superbly played by Sean Fortunato) and his ability to recognize and shape the talent of each recording artist, by having them reach inside themselves. The man was simply a musical genius. But Sun Studios is a small, two-man operation and it is inevitable that each of these great artists will one day outgrow Mr. Phillips distribution and marketing ability and look to hop on larger, well-established labels.

What contributes greatly in making ‘Million Dollar Quartet’ so special is the incredible cast they managed to assemble. Not only does Theater at the Center’s cast deliver the personality traits and behaviors of each, from Jerry Lee Lewis’ dancing eyebrows to Elvis’ sneers and unique body language from the waist down, but it is each actor’s ability to convincingly sing and play as their character that takes this show to a much higher altitude.

At times, Michael Kurowski literally makes the audience forget they are not watching the real Jerry Lee Lewis thanks to his maniacal style of piano playing intertwined with the showmanship that helped the rockin’ pianist become famous. Zachary Stevenson’s sizzling guitar licks and strong vocals makes a highly believable Carl Perkins (you might remember Stevenson from his outstanding performance as Buddy Holly in American Blues Theatre’s ‘The Buddy Holly Story’), while Thomas Malouf nails Johnny Cash with spot on singing and his ability to capture his live qualities. Zach Sorrow, who first stuns the crowd with his accurate rendition of “That’s All Right” and then later seals the deal with a classic performance of “Hound Dog,” plays Elvis Presley. Together they are a force. The cast is rounded out by studio session players Fluke (Nick Anderson) on drums and Jay Perkins (Michael Sinclair) on bass who present a show worth watching in their own right. Aeriel Williams stuns as Elvis’ girlfriend Dyanne who joins in the all-star jam session with a couple songs of her own including an inspired version of “Fever” that really shakes the house.

‘Million Dollar Quartet’ starts off with a bang with “Blue Suede Shoes” and then continues to highlight memorable songs from each performer including “Folsom Prison Blues,” “Who Do You Love,” “Great Balls of Fire,” “Peace in the Valley” and many more. A good mix of concert and theatre, this is a show that is heartfelt, entertaining and sure to leave a lasting impression - not to mention have many searching through their record collection when they get home. This is a show that captures its audience within the first minute, embodies rock n’ roll fun throughout and ends on a high note with its dynamic ending as a show featuring Elvis Presley, Johnny Cash, Carl Perkins and Jerry Lee Lewis should.

‘Million Dollar Quartet’ is currently playing at Theater at the Center through March 31st. For more information visit www.TheaterAtTheCenter.com.

 

Published in Theatre in Review

Opening night, February 21, 2019, at Drury Lane Theatre brought yet another colorful, energy- charged musical, this time in its latest production, "Mamma Mia!" Always a totally enjoyable night out, this production held tight the integrity of the original production and even threw in a few special surprises. Being a fan of both the movie and the stage musical, I noted early on how the producers of this particular play 'mixed it up' to bring the same story line while using their own style, effectively putting their own stamp on it.

If you are not familiar with the musical that features a wonderful Abba-filled soundtrack, the story takes place on a Greek island where Donna Sheridan, along with her daughter Sophie have made a life by opening a cozy, boutique hotel along the oceanfront. Business is good and their life doesn’t come without the usual problems, but it’s a good life.

The story really begins when twenty-year-old Sophie announces she is getting married. Donna wants to throw an amazing wedding and the planning begins. The only problem is that Sophie really wants her father to walk her down the aisle, but she has no idea who her father is. So…what does she do? She pries through her mother’s journal and narrows her father down to three men that Donna documented sleeping with just under a year before Sophie was born. Now knowing which one of the three is her father, Sophie invites all three – without her mother knowing. The hilarity really begins once the three show up on the island for the wedding and, thus, the guessing game commences.

Rebecca Hurd's performance as Sophie Sheridan, is wonderfully done, and her singing voice extremely good, as her range speaks for itself.  Donna, played by Susie McMonagle, also meets the challenge singing a variety of fun and emotional songs, while coming across nicely as Sophie’s caring and protective mother. Especially standing out was one of Donna's love from the past was Sam, portrayed by Jeff Parker. Unlike 'Pierce Bronson' who minimally sang in the movie, Jeff wows us with his powerful, engaging voice many times during the play.

The song 'Dancing Queen' done by the trio of friends, Donna, Rosie (Elizabeth Ledo) and Tanya (McKinely Carter), a.k.a. Donna and the Dynamos many years earlier, reminded the friends of a time in their life when there wasn't a care in the world – and it comes across throughout the theatre perfectly. The way they sang together couldn't help but make the audience smile. The trio together, and in their individual performances, adds an extra dose of fun to the performance!

Liam Quealy who played Sky, Sophie's fiancé had his friends rallying around him to celebrate the upcoming wedding. One very funny moment is when Sky and his friends dance on stage in full swim gear to ‘Under Attack’ causing the audience to laugh at the antics. The song and dance numbers are many, each time energy, coordination and amazing talent taking over the stage. Compliments to the creative folks behind that act, and so many others during the two-hour-thirty-minute performance.

The entire cast and ensemble are wonderful as the Abba hits keep rolling from beginning to end.  “Mama Mia” is a dreamy, uplifting production that is sure to please.

"SOS" - Get your tickets to see “Mamma Mia” at Drury Lane Theatre in Oakbrook Terrace.  Playing from February 21st – April 14th, tickets can be purchased at www.drurylanetheatre.com.

 

Published in Theatre in Review
Wednesday, 20 February 2019 01:10

Marriott's Seussical a magical musical

The skies full of snow,
The weekend seemed dire.
Oh, where would we go?
To Lincolnshire!

On the Marriott stage
To see Seussical,
Straight from the page
To a musical!

All your favorites are there,
Horton and a Who or two,
Gertrude and Mayzie,
We even go to Kalamazoo!

Oh, the thinks you can think
When you think about Seuss.
And the sings you can sing
When you let writers loose.

The play follows Horton
You know him, you must —
The kindly old elephant
With a speck of dust.

With Evan Martin as Horton
And Pat McDermott, moreover,
As the Who on the speck
And the speck on a clover.

But soon there is trouble:
A sour kangaroo
Played by Nicole Kyoung-Mi Lambert
Mocks Horton and his Who!

For the speck is a planet
Filled up with these Whos
Who’ve befriended our Horton
Who soon has the blues.

But Gertrude McFuzz
All bouncy and blonde
Played by Kelly Felthous
Of Horton is fond.

But Gertrude’s not all
No, no, no! No way, Jose!
She’s not the only
Star of this play.

There are Bird Girls galore
By gosh and by golly
Played by Michelle Lauto,
Mallory Madke, and Samantha Pauly

And the Wickersham monkeys
Onstage jump and sing,
Played by Alejandro Fonseca
Brandon Springman, and Ron King.

Horton hatches an egg,
Jojo yearns to be heard,
There’s even red fish and blue fish
Amongst all the birds.

Oh, I almost forgot —
Have you any guesses?
The Seussian favorite
Played by Jon Butler-Duplessis.

A feline who’s tall,
Nearly tall as his hat,
Hosted all the hilarity —
The Cat in the Hat!

On the faces of children
When the play was all done
Were smiles and giggles
Both sure signs of fun.

This musical’s a hit
But it won’t last too long —
Until March 31st
You can hear Seuss’ songs.

So if you’ve got wee ones
Who love Dr. Seuss,
Don’t miss this play,
You’ve got no excuse!

Through March 31st at Marriott Theatre - www.MarriottTheatre.com

Published in Theatre in Review

Just imagine if you could be a fly on the wall during that infamous night when four legendary stars of rock and roll - Elvis Presley, Carl Perkins, Johnny Cash and Jerry Lee Lewis got together for one epic night at Sun Studios. That historic meeting had the young stars playing a variety of songs together while they shared their private sorrows and triumphs. Put it all together and you have the long-lasting recipe for success of the hit show "Million Dollar Quartet". Marriott Theatre is currently hosting the hit musical that actually plays more like a concert at times. 

Director James Moye uses the lovely theater’s in the round setting to create a new fresh and energetic staging of this show that will perk you up and make you feel the "sun" that must have been radiating out of the historic Sun Studios on December 4th, 1956 when these four young stars really did gather there to play on the same day. 

'"Million Dollar Quartet” is really an ensemble piece where all four lead characters also get a chance to shine individually during the course of the show. 

I have seen the show several times and even though these actors are playing monolithic stars and their memorable hit songs - each cast is totally unique. 

In this production Johnny cash played by Christopher J. Essex shines out as the best voice for Johnny Cash. Essex's deep rolling singing tones and gentle giant presentation are spot on and form an anchor for the entire cast to stay true to the singer they are portraying. Rustin Cole Sailors plays a nice, sensitive youthful Elvis and Shaun Whitley busts out with an excellent, rocking portrayal of Carl Perkins - blazing guitar playing and all. Marriott regular Laura Savage also impresses as Elvis’ girlfriend Dyanne, especially in her saucy rendition of “Fever”. Bassist Zach Lentino who play’s Carl’s brother Jay and Kieran McCabe who mans the drums are also a ton of fun to watch. 

But the real standout in this production comes from Nat Zegree as Jerry Lee Lewis. Zegree whose program biography states that he has played the role 350 times, is an animal in the role, prowling the stage and riding the piano like a tiger on speed. Zegree never loses sight of the brilliance of Jerry Lee Lewis piano chops and his ahead of his time, sexually charged rock and roll energy.  Zegree is a dancer, you can see that every step he takes, even while doing a headstand while continuing to batter the keys with ferocity and accuracy.

I've seen other actors play this role, but Zegree's interpretation and performance and piano playing is best I have seen. I imagine it must be difficult for an actor so multi-m talented to show off ALL of his talents in any other role. 

The show isn’t all rosy with four musical legends playing an impromptu one-night engagement. The story also delves into what an impact studio owner Sam Phillips (David Folsom) had on each of them – and how Presley, Cash, and Perkins outgrew the local music studio opting to go with big record labels like Columbia. Worry not, Phillips will be the first one to tell you he made out quite nicely.

A hearty soundtrack of favorite rock and roll classics light up the stage during the 100-minute play – toe-tapping hits such as “Blue Suede Shoes,” “Walk the Line,” “Sixteen Tons,” “Who Do You Love?,” “Great Balls of Fire,” “Folsom Prison Blues” and “Whole Lotta Shakin’ Goin’ On.”

I thoroughly enjoyed the entire cast and every number in this exciting, inspiring show which was perfectly timed for the "dead of Winter" here in Chicago to warm up sleepy audiences. Zegree's showstopping, prodigy-like talents and explosive energy is a performance I will remember for a long time and makes this already great production one of the "must see" shows of the season. 

Highly recommended.

“Million Dollar Quartet” is being performed at Marriott Theatre through March 16th. For more show information visit www.marriotttheatre.com.

 

 

 

Published in Theatre in Review

The above phrase has become a regular one spoken in my home and in the homes of friends in the village of Skokie, first as an inside joke and now as a communal mantra. A mantra of togetherness. A mantra of character. A mantra of love.

That same mantra kept playing in my mind as the Bartlett Sher-directed touring production of Bock and Harnick’s timeless Fiddler on the Roof created a village on the stage of the Cadillac Palace Theatre. Sure, the sets carried us back to turn of the century Eastern Europe. And sure, those beloved songs and that well-known story transport us to the village of Anatekva. But it’s the people who populate that shtetl — and the talented actors of this production who portray them — that bring the village to life.

From the get-go, the face and voice of the village is Yehezkel Lazarov’s Tevye. An Israeli actor and director, Lazarov brings a similar old-world grit and charm to the character that Topol did in the film version. He’s funny and personable, sure, but also tired and wistful and, perhaps, a bit broken as he lays out his life to his audience and his G-d. My favorite number from Fiddler, and the one I most connect with as a father and as someone in a profession that isn’t as profitable as those held by my peers, is “If I Were a Rich Man,” and Lazarov nails it, hitting the humorous notes and the cantorial ones, as well. But beyond his skill at singing and dancing on a Broadway stage, it’s Lazarov’s ability to flesh out Tevye and bring him to life that did it for me.

Tevye’s daughters, played by Mel Weyn (Tzeitel), Ruthy Froch (Hodel), and Natalie Powers (Chava), are the other standouts. Again, as the father and mother of daughters, my wife and I were all too familiar with the complex mix of side-eye glances, huffiness, and adoration that Tevye’s girls show him. Weyn, Froch, and Powers nail it when it comes to portraying a family. And they nail it, too, musically. Particularly when the trio takes on “Matchmaker, Matchmaker,” their voices blend and their harmonies soar as if they actually are siblings singing together.

The other main roles are adequately filled, as well. Carol Beaugard, as said matchmaker Yente, is a hoot. Maite Uzal effectively plays Tevye’s foil, his acerbic, realistic, and ultimately loving wife, Golde. Jesse Weil, Ryne Nardecchia, and Joshua Logan Alexander all do well as Tevye’s daughters’ suitors.

But it’s the rest of the folks in the cast — the ensemble and the musicians — who really make the village. The bottle dance at the wedding that ends Act I is, for sure, a main highlight. But the village of folks that make up the busyness and beauty behind each of the show’s big numbers is what grabs the eyes and hearts of the audience. Whether it’s the bustling Anatekva of “Tradition,” the drunken Jews and Gentiles who come together if only for a moment in “To Life,” or the specters that haunt “Tevye’s Dream,” the ensemble shines throughout. So, too, does the orchestra, conducted and coordinated by Michael Uselmann and John Mezzio, fill the big shoes that Fiddler’s musical legacy requires. Ionut Cosarca on violin strings us along from the pit, just as and spirited Paul Morland does in his role as the titular Fiddler.

So, to see a new take on a classic this holiday season, and to see a cast of skilled creatives make the village this classic takes, head to the Cadillac Palace Theatre from now until January 6 for Fiddler on the Roof.

Published in Theatre in Review
Saturday, 08 December 2018 09:28

Keep It On The Shelf; pass on The Book of Merman

Has anyone ever knocked on your door trying to sell you something? Magazines? Cookies? What about religion? No? Me neither. A new Chicago musical-comedy utilizes a familiar character-driven plot line of two Mormon missionaries knocking on doors, only to discover a new friendship, and themselves along the way. It’s not The Book Of Mormon, this is The Book of Merman, the off-Broadway show showing in select cities across the country.

Two missionaries spreading the word about The Church of Jesus Christ of Latter-day Saints, they find themselves at the door of Ethel Merman, hilarity ensues in a diva-driven journey featuring original songs by Leo Schwartz. The Book of Merman did not have much substance. There was a familiar story line of a closeted gay Mormon man who secretly loves musical theater who meets one of his idols (and he just happens to have her biography in his backpack next to his bible!). Then there’s something about Ethel Merman (the undisputed first lady of musical theater who died in 1984) is- spoiler - not who she says she is! She’s only pretending to be Ethel Merman. The characters find themselves in each other, complete strangers, and they shimmy and box step their way into no ones hearts while using jazz hands. To top it off, the vocals could hardly make it past the second row of of the 50-person music box theater at Stage 773.

With the The Book of Mormon’s monumental success, it’s easy to see how utilizing a similar character-driven plot could work. But switching out character development for stereotypes and bad vocals does not make a great production. And I have to wonder if religious soliciting is still a thing or if it’s a dying fad. Unfortunately for The Book of Merman, I think it too is a dying fad.

Presented by Flying Elephant Productions, The Book of Merman is playing at Stage 773 through January 6, 2019. Run time: 90 minutes, no intermission. For showtimes and tickets visit https://www.stage773.com/show/merman.

Published in Theatre in Review
Wednesday, 28 November 2018 04:56

'Snowgirls' explores the darker side of the North Pole

When we think holidays in Chicago, we think ‘A Christmas Carol’ at Goodman, Joffrey’s ‘Nutcracker’, Christkindlmarket, Zoo Lights at Lincoln Park Zoo, Winter Wonderfest at Navy Pier and the list goes on and on. We should count our lucky stars, Chicago has a lot to offer this time of year. But perhaps one of the most fun holiday traditions (one I certainly look forward to each year) is Hell in a Handbag’s annual Christmas musicals and this year is no exception. Parody master David Cerda and company, who have brought us such hits in the past as ‘Rudolph the Red-Hosed Reindeer’ and ‘Christmas Dearest’, keep the tradition rolling this year with ‘Snowgirls’. You guessed it – a lampoon on the 90’s cult classic Showgirls.

It’s a tough, dog-eat-dog world out there for reindeer who want to make it to the top of the exotic dancing game. Making a name for yourself in local strip dives is one thing, but Snowmi Malone has her sights set much higher. She’s looking to make it in crowned jewel of the exotic revue world – the North Pole. But to do that, not only does opportunity need to present itself, she needs to be the best she can be. Ice Crystal Connors, the star dancer and Queen of the Scene might have something to say about that.

In “Snowgirls’ we are taken on a journey through the sleazy underworld of the North Pole in a hilarious adventure that rings the holidays in Handbag style.

Directed and Choreographed by Jon Martinez, with book by Derek Van Barham and Music by David Cerda, the world premiere holiday production of “Snowgirls the Musical’ comes with its Handbag stamp and certainly holds its own to other past holiday productions by this talented theatre company. As outrageous, envelope-pushing and downright funny as one would hope for, Hell in a Handbag has yet another hit show on their hands thanks to its witty and devilishly comical script and the company’s skilled ability for casting just the right people in just the right parts.

Harper Leander is adorable in the role of Snowmi where she not only gets the chance to display her well-timed physical humor and droll line delivery, she even gets to bust a few moves as the bratty stripper who will make it at any cost. Handbag favorite Sydney Genco as Ice Crystal Connors is terrifically cast as the top drawing attraction of the North Pole’s exotic dance scene. Conniving and ruthless when need be, Grenco gives us a brilliant Gina Gershon parody that is simply hysterical. So many reindeer so many performances that should be recognized. Patrick Stengle as a grown up and kinda hardcore Herbie (the dentist wannabe in ‘Rudolph’) delivers many laugh out moments as does Max McKune as shady club manager Rudolph (he apparently didn’t grow up as innocent as we thought he would) and Terry McCarthy, who has been with Hell and a Handbag since its inception, as club owner and tough guy, Tony.

Other familiar faces make this production the success that it is with their own stand out performances including Grant Dagger (Zip), Brittani Yawn (Jolly) and Erin Daly as Mrs. Claus.

‘Snowgirls’ is holiday fun and can be enjoyed whether you’ve seen Showgirls or not (but it does help to have seen it beforehand). Go see what everyone is buzzing about and see why Hell in a Handbag just might be the funniest theatre company in Chicago.

‘Snowgirls the Musical: The Other Side of the North Pole’ is being performed at Mary’s Attic through December 30th. For tickets and/or more show information visit www.handbagproductions.org.

 

Published in Theatre in Review
Page 4 of 10

 

 

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